Jennifer Lopez celebrated two wins at the 2014 Gay and Lesbian Alliance Against Defamation (GLAAD) Media Awards on Saturday (12Apr14). The actress/singer was honoured with the Vanguard Award for her commitment to increasing the understanding of the lesbian, gay, bisexual and transgender (LGBT) community through her work as a producer on U.S. TV series The Fosters.
The show, which revolves around a lesbian couple raising a family, also picked up the Outstanding Drama Series award for its accurate representation of LGBT life at the ceremony in Los Angeles.
Other winners included Behind The Candelabra, a drama starring Michael Douglas as Liberace, and TV writer Norman Lear, who produced 1970s U.S. sitcoms Sanford and Son and The Jeffersons.
Orange Is The New Black star Laverne Cox was presented the Stephen F. Kolzak Award by actress Ellen Page for helping Americans understand transgender people.
U.S. soap opera Days of Our Lives won the Outstanding Daily Drama award. The show made TV history this month (Apr14) by becoming the first daytime soap to feature a wedding between two gay men.

DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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Lionsgate via Everett Collection
Jake Gyllenhaal has just taken on the lead in Southpaw, a boxing film previously set to star Eminem, whose latest album, The Marshall Mathers LP 2 will be released soon. The film is a dark look into the life of a man who may be a sucessful boxer but struggles to connect with his young daughter and be there for his family. Gyllenhaal, successfully mounting a resurgence with the small but well-recieved End of Watch and Prisoners, is known for his thoughtful performances, even earning an Oscar nomination for Brokeback Mountain, while Eminem hasn't done a whole lot of acting since his auto-biopic 8 Mile came out 11 years ago. But the rapper and respected actor aren't as different as it might seem. In fact, some of Gyllenhaal's most famous roles could easily be taken on by Eminem. All you have to do is look at his lyrics.
October SkyA nerdy science whiz has the power to change his entire coal mining town:"Ayo, my pen and paper cause a chain reaction/To get your brain relaxing, a zany acting maniac in action/A brainiac in fact son, you mainly lack attraction"
Zodiac Here you can see the frustation of a newspaper columnist as he struggles to puzzle out the Zodiac killer's crimes as they keep happening under the police's noses:"A bloodstain is orange after you wash it three or four times/in a tub but that's normal ain't it Norman?/Serial killer hiding murder material/in a cereal box on top of your stereo"
Brokeback MountainA cowboy can't bear to deny that he's gay any longer:"I got some skeletons in my closet/And I don't know if no one knows it/So before they thrown me inside my coffin and close it/I'mma expose it"
Donnie DarkoYou can see the emotionally troubled Donnie thinking these very rhymes:"Cause my split personality is having an identity crisis/I'm Dr. Hyde and Mr. Jekyll, disrespectful/Hearing voices in my head while these whispers echo."
The Day After TomorrowIt sure gets cold fast in this enviornmental horror film:"Nobody knows me I'm cold/Walk down this road all alone/It's no one's fault but my own/It's the path I've chosen to go/Frozen as snow I show no emotion whatsoever."
Love and Other Drugs This sales rep discovers the monetary power of selling Viagra:"What an ensemble, what an assortment of pharmaceuticals/This beautiful pill dust in my palm/Cuticles get residue just from touching the bottle"
Bubble BoyEminem really gets into the mind of the kid whose immune system is too weak to survive outside of a plastic bubble:"Brain damage, ever since the day I was born/Drugs is what they used to say I was on/They say I never knew which way I was goin/But everywhere I go they keep playin my song"(Bonus: "It's like the boy in the bubble, who never could adapt, I'm trapped.")
Prince of PersiaAnd, a brief step out of character and into Gynllenhaal's actual mind that might help to explain this terrible movie:"There is too much too lose [...]/I just want to be famous/But, be careful what you wish for"
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The Jeffersons star Sherman Hemsley has died at the age of 74.
The actor passed away at his home in El Paso, Texas on Tuesday (24Jul12). He is believed to have died from natural causes, according to TMZ.com.
Born in Philadelphia, Pennsylvania, Hemsley got his break in showbusiness in the early 1970s, making his Broadway debut in a production of the play Purlie.
It was during his stage stint that he caught the eye of American TV writer and producer Norman Lear, who reached out to Hemsley and asked him to star as George Jefferson in new sitcom All in the Family.
Hemsley was reluctant to quit the theatre and held off on the role for two years before taking Lear up on the standing offer.
Although Jefferson was just a secondary character on the show, Hemsley's comedic timing convinced Lear to develop a spin-off series titled The Jeffersons in 1975, allowing the actor to really shine on camera.
The programme became one of Lear's most successful projects and remains the longest-running sitcom with a predominantly black cast in U.S. TV history, airing from 1975 to 1985.
Hemsley's other TV credits include 1980s show Amen and puppet series Dinosaurs, while he also made guest appearances on Will Smith's TV hit The Fresh Prince of Bel-Air.
He also enjoyed a stint as a professional singer and released a single in 1989, titled Ain't that A Kick in the Head.
Further details surrounding his passing were unavailable as WENN went to press.
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
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